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Acknowledgments This book did not develop in a vacuum. I had support and a good deal of it. To start, I must thank the men and women who took the time to chat with me, holding enough trust to believe that I would portray their lives with sensitivity. There are the people who were interviewed, and those who led me to them. All roads lead to Dr. Nadia Rasheed. I know that this project never would have been possible without her unquestioning support. Others offered sustenance and poignant counsel over the years of pursuing and writing this work. Chief among them are Leslie Guttman, Kate Black, and Rosalind Harris, all of whom hold a wealth of knowledge when it comes to writing and researching and provided sage advice at moments when it was needed. Janet Eldred, early on, discerned those things that were working and those that were not. Marcie Cohen Ferris offered resounding support and useful ideas for making the book better. Steve Wrinn and the crew at the University Press of Kentucky, includDr . Nadia Rasheed. (Photo by Sarah Jane Sanders.) xviii acknowledgments ing David Cobb and Allison Webster (and not to forget the copyeditor, Linda Lotz), made the publishing process easy, uncomplicated, and straightforward. The quality of the folks at the press is impressive and is a reflection of Steve’s creative energy. Who would have thought that an interaction at a bakery would lead to a sweet and productive friendship? But it did. I often saw Sarah Jane Sanders when I stopped by the bakery where she worked. Serendipitously, she told me that her real passion was photography and directed me to her website: www.sanolaphotography.com. I was overwhelmed by the quality of her work, and soon we were packing up her gear to photograph the people I interviewed. In Sarah I found a friend and fellow documentarian with an intuitive take on this work that, at times, escaped me. It is often said that photographers have a good eye. No doubt, Sarah has one, but the power of her work rests in her ability to couple a good eye with compassion when detecting the essence of people or things. My family and friends imbue this work—those who have passed away and those who are with me today. I started this project while closing my family home and saying goodbye to childhood memories, to my parents, Monroe and Sonia Moosnick, and to my brother, Les. I ended it bidding farewell to the last of my elders, Marilyn and Franklin Moosnick. While I mourn their passing, I know that I am lucky to have had family members who were so vibrant and engaged in the community. Lisa and Howard Myers, Madelaine Enochs-Epley, Beth Ellen Rosenbaum , and Liz and Neal Armstrong allowed me the safety of their company when it was a welcome distraction from the book process. Miriam Moosnick never wavered, offering cogent insight daily. I do not know myself beyond her. It is not an exaggeration to say that this project would never have been possible if not for Ted Schatzki. He provided both general support in anticipating the ebbs and flows of writing a book and specific aid as he painstakingly read and reread passages. He is my core, and this work benefitted from his solid dedication to his family. In Louis and Helena Schatzki I see the past, since characters who have passed away long ago surface in them. They also embody the present and future, and they never cease to amaze. ...

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